Systems and Methods for Non-Linear Content Creation

ABSTRACT

A system includes a memory configured to store a plurality of tools and a processor configured to use the plurality of tools. The processor uses the plurality of tools to retrieve historical information relating to a storyline, retrieve user information relating to user interactions with the storyline, provide the historical information and the user information for incorporating into the content, and generate the content using the historical information and the user information.

BACKGROUND

Today's distribution technologies for video experiences enable a newtype of storytelling that can both receive inputs from the audience andadjust facets of the story, plot or other parameters of the end-to-endstory experience. These inputs can occur via a direct interface into theviewing device or digital player, or these inputs can occur throughother technology platforms and devices not directly connected to theprimary viewing screen or platform. Additionally, the story itself maybe distributed across and span multiple platforms, devices, timehorizons, and viewers.

However, very few tools exist to make the writing, preproduction andplanning, production, post-production and distribution easier andsimpler. Conventionally, each tool for each phase has to be manuallygenerated and manually programmed in order to ensure an accurate logicfor the storyline in order to have continuity, which leaves room formistakes and a lack of continuity.

Today, changes in the story or other facets of the experience currentlyneed to be manually generated and manually programmed. For example,assembling videos in an interactive video, graphically designingmechanisms for user input to be overlaid on top of a video, ormaintaining the logic in a non-linear story are some changes that wouldneed to be manually generated and manually programmed. As a result,creation of such experiences is necessarily separated from the writingand production of such experiences, making the artistic unity and visiondifficult for a content creator to exert control over.

SUMMARY

The present disclosure is directed to systems and methods for non-linearcontent creation, substantially as shown in and/or described inconnection with at least one of the figures, as set forth morecompletely in the claims.

BRIEF DESCRIPTION OF THE DRAWINGS

FIG. 1 presents a system for non-linear content creation, according toone implementation of the present disclosure.

FIG. 2 presents a writing tool of a system for non-linear contentcreation, according to one implementation of the present disclosure.

FIG. 3 presents a production tool of a system for non-linear contentcreation, according to one implementation of the present disclosure.

FIG. 4 presents a post-production tool of a system for non-linearcontent creation, according to one implementation of the presentdisclosure.

FIG. 5 presents a distribution tool of a system for non-linear contentcreation, according to one implementation of the present disclosure.

FIG. 6 presents a diagram of logic of a storyline, according to oneimplementation of the present disclosure.

FIG. 7 shows a flowchart illustrating a method for non-linear contentcreation, according to one implementation of the present disclosure.

DETAILED DESCRIPTION

The following description contains specific information pertaining toimplementations in the present disclosure. The drawings in the presentapplication and their accompanying detailed description are directed tomerely exemplary implementations. Unless noted otherwise, like orcorresponding elements among the figures may be indicated by like orcorresponding reference numerals. Moreover, the drawings andillustrations in the present application are generally not to scale, andare not intended to correspond to actual relative dimensions.

FIG. 1 presents a system for non-linear content creation, according toone implementation of the present disclosure. System 100 of FIG. 1includes server 110, network 130, client device 150, display 170, andinput device 172. Server 110 includes server processor 112,communication interface 114, and memory 122. Memory 122 includes writingtool 122 a, production tool 124 a, post-production tool 126 a,distribution tool 128 a, storyline 116 a, franchise 117 a, and content118 a. Client device 150 includes processor 152, input interface 154,communication interface 156, and memory 158. Memory 158 includesapplication 162 having writing tool 122 b, production tool 124 b,post-production tool 126 b, distribution tool 128 b, storyline 116 b,franchise 117 b, and content 118 b.

Server 110 is configured to communicate with client device 150 vianetwork 130 to provide updates and information stored in memory 122 ofserver 110. In some implementations, server 110 may be configured todynamically transmit information and data from writing tool 122 a,production tool 124 a, post-production tool 126 a, distribution tool 128a, storyline 116 a, franchise 117 a, and content 118 a to client device150 for use by client device 150. In other implementations, server 110may be configured to transmit all of the data and the information at onetime, as the data and the information are requested, and/or at certaintime intervals.

Server 110 may be operated and be accessible by different departmentswithin a company. For example, within server 110, writing tool 122 a maybe operated by a writing department, production tool 124 a may beoperated by a production department, post-production tool 126 a may beoperated by a post-production department, and distribution tool 128 amay be operated by a distribution department of a company. However, insome implementations, there may be any number of servers operated by anynumber of companies and/or businesses, including different departmentswithin each company/business, where each server, including server 110,communicate data and information to each other server.

In some implementations, server 110 may also be a local server, wherenetwork 130 is a local area network (LAN) and all the data andinformation on server 110 may be transmitted across the local areanetwork to client device 150. In such an implementation, server 110 maybe a company server accessible by each department within the company.

Also illustrated in FIG. 1, server 110 includes server processor 112 andmemory 122. Server processor 112 may be configured to access memory 122to store received input or to execute commands, processes, or programsstored in memory 122. Server processor 112 may correspond to aprocessing device, such as a microprocessor or similar hardwareprocessing device, or a plurality of hardware devices. However, in otherimplementations server processor 112 refers to a general processorcapable of performing the functions required of server 110. Memory 122is capable of storing commands, processes, and programs for execution byserver processor 112. Memory 122 may be instituted as ROM, RAM, flashmemory, or any sufficient memory capable of storing a set of commands.In other implementations, memory 122 may correspond to a pluralitymemory types or modules.

Server 110 may utilize communication interface 114 to communicate withcommunication interface 156 of client device 150 over network 130.Communication interface 114 can utilize any types of wired and wirelessinterfaces, as examples, one or more of Ethernet, Wireless Fidelity(Wi-Fi), Worldwide Interoperability for Microwave Access (WiMax),ZigBee, Bluetooth, RFID, Algorithm Division Multiple Access (CDMA),Evolution-Data Optimized (EV-DO), Global System for MobileCommunications (GSM), Long Term Evolution (LTE).

Writing tool 122 a is configured to store, provide, and utilize data,information, logic, visualization, and planning pertaining tocharacters, character worlds, locations, vocabularies, objects, actions,events, and other information associated with storyline 116 a andfranchise 117 a in order to aid in the creation of content 118 a.Writing tool 122 a is further configured to determine the location ofand access existing materials across network 130. For example, writingtool 122 a may determine the location of information relating tostoryline 116 a on network 130, or provide the location of theinformation to the user. The existing information is used by writingtool 122 a to further aid in the creation and generation of content 118a.

Production tool 124 a is configured to store, provide, and utilize data,information, and logic associated with storyline 116 a, franchise 117 a,and business models to provide shot planning, cost scaling, musicalcontinuity, and other information relating to production of content 118a. Post-production tool 126 a is configured to store, provide, andutilize data, information, and logic associated with storyline 116 a andfranchise 117 a to assemble, edit, design, and develop content 118 a.

Distribution tool 128 a is configured to store, provide, and utilizedata, information, feedback, device information, and analyticsassociated with storyline 116 a, franchise 117 a, and viewers of contentassociated with storyline 116 a and franchise 117 a to create, manage,and determine client device compatibility, continuity of storyline 116a, and user engagement levels to aid in creation of content 118 a.

In some implementations, each of writing tool 122 a, production tool 124a, post-production tool 126 a, and distribution tool 128 a may beimplemented as distinct and separate modules and programs, or any numberof the tools may be integrated into one. In other implementations, eachof writing tool 122 a, production tool 124 a, post-production tool 126a, and distribution tool 128 a may be a plug-in for an already existingprogram. For example, writing tool 122 a may be a plug-in for a scriptwriting program, production tool 124 a may be a plug-in for a videocreation program, etc.

In some implementations, all the information from each of writing tool122 a, production tool 124 a, post-production tool 126 a, anddistribution tool 128 a along with storyline 116 a and franchise 117 amay be included in a knowledge database for access by server 110 and/orclient device 150. For example, all of the information may be input intoa spreadsheet that is parsed by server 110 and/or client device 150. Insuch an example, the spreadsheets are managed and matched such that allof the information is in a standardized language. As such, informationfrom each of writing tool 122 a, production tool 124 a, post-productiontool 126 a, and distribution tool 128 a can be input into thespreadsheets and understood by server 110 and/or client device 150. Inanother implementation, the information may be in a visual graph orlogic map, such as that presented in diagram 600 of FIG. 6.

In some implementations, each of writing tool 122 a, production tool 124a, post-production tool 126 a, and distribution tool 128 a maycommunicate with each other throughout the end-to-end process ofgenerating content 118 a. In such an implementation, each of writingtool 122 a, production tool 124 a, post-production tool 126 a, anddistribution tool 128 a may utilize a standardized language understoodby each of writing tool 122 a, production tool 124 a, post-productiontool 126 a, and distribution tool 128 a.

Each of writing tool 122 a, production tool 124 a, post-production tool126 a, and distribution tool 128 a provide information to the user,server 110, and client device 150 for creation of rules that are used increation of content 118 a and/or content 118 b. For example, a rule thatis created by writing tool 122 a, production tool 124 a, post-productiontool 126 a, and/or distribution tool 128 a may prohibit and/or provide awarning to the user creating content 118 a and/or content 118 b suchthat the user becomes aware of the rule. For example, CHARACTER-1 andCHARACTER-2 may be prohibited from being included in the same storyline,because they lived at different times in history. In such an example,when the user writing the script for content 118 a tries to includeCHARACTER-1 and CHARACTER-2 in the same scene, the user is provided witha notification that they are breaking the rule by trying to includeCHARACTER-1 and CHARACTER-2 in the same scene in storyline 116 a.

Storyline 116 a is used to guide and provide information for each ofwriting tool 122 a, production tool 124 a, post-production tool 126 a,and distribution tool 128 a. Storyline 116 a includes the storyline ofcontent 118 a, and may also include the entire storyline throughout adefined history and even into the future, across any number ofplatforms. For example, storyline 118 a may include all past events andstorylines associated with a franchise included in franchise 117 a, suchas FRANCHISE-1 and the future plans for the storyline of FRANCHISE-1,across a number of platforms including, but not limited to, video,television, video games, comics, toys, and any other platform used thatis associated with the storyline of FRANCHISE-1. As such, when thestoryline is being developed for content 118 a, the past, present, andfuture events and timelines associated with FRANCHISE-1 are gathered toform the storyline for content 118 a to ensure continuity of storyline116 a.

For example, analytics captured and processed by distribution tool 128 amay indicate that viewers of a movie associated with FRANCHISE-1 wouldenjoy CHARACTER-1 being a sidekick to CHARACTER-2. However, when a userof client device 150 receives this information and begins to write ascript where CHARACTER-1 is a sidekick to CHARACTER-2, writing tool 122a may use logic generated from storyline 116 a to notify the user thatCHARACTER-1 and CHARACTER-2 cannot be sidekicks, because it wouldconflict with a past or future event within storyline 116 a, forexample. As a result, storyline 116 a would remain continuous withoutthe user having to personally research and/or seek others to determinetheir ability to have CHARACTER-1 and CHARACTER-2 be sidekicks.

In another example, while the user is creating content 118 a,information may be provided from any of writing tool 122 a, productiontool 124 a, post-production tool 126 a, and distribution tool 128 a toassist the user in creating content 118 a with continuity of storyline116 a. For example, writing tool 122 a may provide, based on theontology and controlled vocabulary, keywords from related classes andauthority lists that might prompt a user to include concepts or relatedstory ideas. In addition, distribution tool 128 a may recommend scenes,characters, or events to be included in the storyline of content 118 abased on user feedback and user interest in similar scenes, characters,or events from other content. Further, if content 118 a is a movie orvideo, for example, production tool 124 a may provide the user withinformation about costs of developing and shooting scenes for a themovie or video based on a script the user is creating based onhistorical information of similar scenes, in order to help the usercreate a script that is within the cost budget for content 118 a. Assuch, of the tools within server 110 can provide information for thecontinuity of storyline 116 a while simultaneously increasing userengagement and managing costs.

Also illustrated in FIG. 1, server 110 also includes franchise 117 a.Franchise 117 a may include one franchise, or multiple franchises. Eachof the franchises within franchise 117 a may include all the products,items, and content associated with franchise 117 a. For example,franchise 117 a may include FRANCHISE-1 and all the toys, products,movies, videos, songs, television shows, and other items associated withFRANCHISE-1. Franchise 117 a is associated with storyline 116 a and eachof the items within franchise 117 a are used when creating content 118 asuch that storyline 116 a remains consistent across each of the items infranchise 117 a.

Content 118 a includes videos, television shows, audio such as songs orrecordings, comic books, articles, books, or any other informationassociated with storyline 116 a that is created using at least one ofwriting tool 122 a, production tool 124 a, post-production tool 126 a,and distribution tool 128 a. Content 118 a may be associated withfranchise 117 a, or may only be associated with storyline 116 a. Forexample, a user of client device 150 may access server 110 to create orshare in the creation of content 118 a based on storyline 116 a using atleast one of writing tool 122 a, production tool 124 a, post-productiontool 126 a, and distribution tool 128 a.

Client device 150 is configured to aid in the creation of content 118 aon server 110 using application 162. In some implementations, clientdevice 150 is configured to access each of writing tool 122 a,production tool 124 a, post-production tool 126 a, and distribution tool128 a across network 130. In other implementations, client device 150 isconfigured to utilize writing tool 122 b, production tool 124 b,post-production tool 126 b, and distribution tool 128 b stored in memory158 of client device 150. In such an implementation, client device 150may have previously downloaded each of writing tool 122 b, productiontool 124 b, post-production tool 126 b, and distribution tool 128 b fromserver 110, or from another server. Client device 150 may be anycomputing device, such as a desktop computer, a tablet computer, anoptical player, or any device capable of utilizing application 162 tocreate content 118 b.

It should be noted that each of writing tool 122 b, production tool 124b, post-production tool 126 b, distribution tool 128 b, storyline 116 b,franchise 117 b, and content 118 b correspond respectively to writingtool 122 a, production tool 124 a, post-production tool 126 a,distribution tool 128 a, storyline 116 a, franchise 117 a, and content118 a on server 110.

Also illustrated in FIG. 1, client device 150 includes processor 152 andmemory 158. Processor 152 may be configured to access memory 158 tostore received input or to execute commands, processes, or programsstored in memory 158. Processor 152 may correspond to a processingdevice, such as a microprocessor or similar hardware processing device,or a plurality of hardware devices. However, in other implementationsprocessor 152 refers to a general processor capable of performing thefunctions required of client device 150. Memory 158 is capable ofstoring commands, processes, and programs for execution by processor152. Memory 158 may be instituted as ROM, RAM, flash memory, or anysufficient memory capable of storing a set of commands. In otherimplementations, memory 158 may correspond to a plurality memory typesor modules.

Also illustrated in FIG. 1, client device 150 includes communicationinterface 156. Client device 150 may utilize communication interface 156to communicate with communication interface 114 of server 110 overnetwork 130. Communication interface 156 can utilize any types of wiredand wireless interfaces, as examples, one or more of Ethernet, WirelessFidelity (Wi-Fi), Worldwide Interoperability for Microwave Access(WiMax), ZigBee, Bluetooth, RFID, Algorithm Division Multiple Access(CDMA), Evolution-Data Optimized (EV-DO), Global System for MobileCommunications (GSM), Long Term Evolution (LTE).

Also illustrated in FIG. 1, client device 150 includes input interface154. Input interface 154 is configured to communicate with input device172 and display 170. Input interface 154 may communicate with inputdevice 172 and display 170 by a wired and/or a wireless connection.Processor 152 of client device 150 is thus configured to control inputinterface 154 to communicate with input device 172 and display 170.Input interface 154 can utilize any type of wired and wirelesstechnologies to communicate with input device 172 and display 170.

Also illustrated in FIG. 1, system 100 includes input device 172. Inputdevice 172 may include any devices necessary for interacting with clientdevice 150 and/or display 170. For example, input device 172 may includea keyboard, a microphone, a mouse, a headset, a display, a remote, orany other device. In the present implementation, input device 172 isconnected externally to client device 150. However, in someimplementations, input device 172 may be built into client device 150,such as if client device 150 is a cellular phone, for example.

Also illustrated in FIG. 1, system 100 includes display 170. Display 170is configured to display application 162 to a user, including each ofwriting tool 122 b, production tool 124 b, post-production tool 126 b,and distribution tool 128 b as well as content 118 b. Display 170 maycommunicate with client device 150 through input interface 154. Display170 may comprise a liquid crystal display (“LCD”), a light-emittingdiode (“LED”), an organic light-emitting diode (“OLED”), or anothersuitable display screen that performs a physical transformation ofsignals to light. In the present implementation, display 170 isconnected externally to client device 150. However, in otherimplementations, display 170 may be built into client device 150 and beconfigured for touch recognition. In such an implementation, display 170is at least one of the devices making up input device 172.

Client device 150 also includes application 162. Application 162 isconfigured to utilize each of writing tool 122 b, production tool 124 b,post-production tool 126 b, and distribution tool 128 b to createcontent 118 b. Application 162 may include one application or mayinclude any number of applications. For example, in one implementation,application 162 may include a separate application for each of writingtool 122 b, production tool 124 b, post-production tool 126 b, anddistribution tool 128 b. However, in other implementations, application162 may include one application that controls each of writing tool 122b, production tool 124 b, post-production tool 126 b, and distributiontool 128 b. In one implementation, after content 118 b is distributed, aviewer may provide direct inputs back into system 100 or viewer metricsmay be captured by system 100 for further use by content providers formodification and creation of contents.

Now referring to FIG. 2, FIG. 2 presents a writing tool of a system fornon-linear content creation, according to one implementation of thepresent disclosure. FIG. 2 includes writing tool 222. Writing tool 222includes ontology manager 281, story logic 282, visualization 283,transmedia planning 284, and cost planning 285. It should be noted thatwriting tool 222 corresponds to writing tool 122 a and writing tool 122b of FIG. 1.

Ontology manager 281 is configured to maintain relationships betweencharacter worlds, vocabularies, characters, objects, places, actions,and events in the storyline. Ontology manager 281 may be output ingraphical form, such as the graph shown in FIG. 6, which will bedescribed in more detail below. For example, ontology manager 281updates character relationships within the storyline as the storylineprogresses. If CHARACTER-1 becomes an enemy of CHARACTER-2 at some pointin the storyline, ontology manager updates and maintains the state ofthe relationship between CHARACTER-1 and CHARACTER-2 to createcontinuity in the storyline. As such, when the user writes a scene forthe content, such as content 118 a of FIG. 1, ontology manager 281provides the user with information relating to the current relationshipbetween CHARACTER-1 and CHARACTER-2. The same process is completed byontology manager 281 for vocabularies, characters worlds, objects,places, actions, and events in the storyline.

In addition, ontology manager 281 is configured to update characterdevelopment and/or character status. For example, if CHARACTER-1 dies ina television show episode, and the user creating the content tries toinclude CHARACTER-1 in the content, ontology manager 281 provides awarning to the user that CHARACTER-1 can only appear as a ghost, or in aflashback, in order to maintain continuity with the storyline.

Ontology manager 281 may include classes of concepts, e.g. Characters,Titles, Episodes, etc. Ontology manager 281 may also include controlledvocabulary lists. For example, in the love subclass of the keywordsclass, the controlled vocabulary may contain kiss, love, sex, marriage,etc. Ontology manager 281 may further include authority lists, e.g. IronMan 3, not Iron Man Three, and may also include ontologicalrelationships and rules, e.g. Episode ‘hasCharacter’ Protagonist, where‘hasCharacter’ defines a relationship between classes.

Story logic 282 is configured to interact with ontology manager 281 andto store logical elements in the storyline to manage inconsistencies,help provide simplicity, and make recommendations. For example, duringuse of writing tool 222, story logic 282 may provide information to theuser dynamically during creation of the content if the user creates anevent that is inconsistent with the storyline. In addition, duringcreation of the content by the user, story logic 282 may provide moresimplified event ideas or recommend events for including in the contentbased on the storyline, historical information, costs, and otherrelevant information.

Visualization 283 is configured to output information from story logic282 and ontology manager 281 onto a visualization graph and receiveinputs based on manipulation of the visualization graph. For example,the user may manipulate the visualization graph using visualization 283,where the visualization graph includes events, characters, locations,and other information from story logic 282 and ontology manager 281, tocreate or alter events in the storyline. Visualization 283 provides avisual tool for viewing the storyline through time and space in order tocreate continuity and avoid inconsistencies in the storyline.

Also illustrated in FIG. 2, writing tool 222 also includes transmediaplanning 284. Transmedia planning 284 is configured to enable the user,who may be a script writer, for example, to insert transmedia elementsor functions into the scriptwriting process. In addition, transmediaplanning 284 is configured to receive inputs from numerous platforms andcreate business rules and logic for dealing with the inputs. Forexample, transmedia planning 284 may be configured to plan forconversion of a book to a movie, or a comic book to a video game.

Turning to cost planning 285, cost planning 285 is configured to utilizebusiness rules and assumptions, during creation of the content, torender in real time projected costs for a scene or a shot list for whatwould be required to capture a scene. For example, if the user iswriting a script for a movie, cost planning 285 would utilize businessrules and assumptions based on historical information to provide realtime costs for creating the scene in the movie. In such an example, ifthe user is writing a fighting scene into the script which would requireseveral explosions, cost planning 285 may provide historical informationon the price of shooting similar scenes and also provide budgetinformation for the current content. As such, cost planning 285 providesthe user with real time information during creation of the content tohelp the user create a script for a movie that fits within a specifiedbudget so that the content requires fewer alterations during creation ofthe movie.

FIG. 3 presents a production tool of a system for non-linear contentcreation, according to one implementation of the present disclosure.FIG. 3 includes production tool 324. Production tool 324 includes shotplanning 386, sublinear cost scaling 387, and music continuity 388. Itshould be noted that production tool 324 corresponds to production tool124 a and production tool 124 b of FIG. 1.

Shot planning 386 is configured to utilize logic from the writing tool,such as writing tool 222, to provide detailed shot planning for theproduction of non-linear or transmedia productions. Shot planning 386provides detailed shot planning output as a shot list to an industrystandard.

Sublinear cost scaling 387 is configured to utilize algorithms based onuser inputs and business logic to optimize cost below linear scaling.For example, sublinear cost planning 387 may be configured to identifyshots or scenes that can be used multiple times in multiple scenes suchthat the costs scale sublinearly with the non-linear growth of thestory.

Music continuity 388 is configured to build intelligence into thecontent in order to provide continuous music for a consistent experienceeven in non-linear interactive stories. For example, if a story requiresuser inputs to determine the direction of the story which creates jumpsbetween scenes and/or skipped scenes, music continuity 388 providesconsistent and continuous music to plan for the multiple paths and/oroutcomes.

FIG. 4 presents another a post-production tool of a system fornon-linear content creation, according to one implementation of thepresent disclosure. FIG. 4 includes post-production tool 426.Post-production tool 426 includes assembly 489 and graphicdesign/development 490. It should be noted that post-production tool 426corresponds to post-production tool 126 a and post-production tool 126 bof FIG. 1.

Assembly 489 is configured to provide an interface that is pre-loadedwith logic written into the script by the writing tool, the productiontool, and the distribution tool, such as writing tool 222 of FIG. 2,production tool 324 of FIG. 3, and distribution tool 528 of FIG. 5.Assembly 489 utilizes the logic to label viewer choice including logicand limits accompanying viewer choice. The interface included withinassembly 489 is similar to a non-linear editor and is configured toreceive inputs from the user/writer and the producer, where the inputsare persisted back to the original content, such as the script, with allthe changes made by the inputs logged and tracked.

Also illustrated in FIG. 4, post-production tool 426 includes graphicdesign/development 490. Graphic design/development 490 is configured topredict and provide graphic needs and development needs for thepost-production aspects of the content. For example, if transmediaelements or website designs associated with the content are determinedto be necessary based off of logic in graphic design/development 490,then graphic design/development 490 provides planning to link theassociated information to assembly 489.

FIG. 5 presents a distribution tool of a system for non-linear contentcreation, according to one implementation of the present disclosure.FIG. 5 includes distribution tool 528. Distribution tool 528 includesplayer 591, search timeline 592, analytics 593, and transmedia viewing594. It should be noted that distribution tool 528 corresponds todistribution tool 128 a and distribution tool 128 b of FIG. 1.

Player 591 is configured to utilize the assembly and graphicdesign/development, such as assembly 489 and graphic design/development490 of FIG. 4, to generate an output using a codec that is compatiblewith a media device, such as a digital video player. The media devicemust be configured to read the logic and feature set written into thecontent, such as the script, after the content has been produced andassembled by the production tool and post-production tool, such asproduction tool 324 of FIG. 3 and post-production tool 426 of FIG. 4.

Search timeline 592 is configured to provide a timeline or overview ofall the events and logic in the storyline of the content to enable theviewer of the content to navigate non-linearly through the storyline ina graphical way. As such, the viewer is able to reach or retrieveprevious events, revisit storylines that were skipped over in the past,or to select a new or different path through the content. Searchtimeline 592 may be implemented to the specifications created by theuser of the client device, such as client device 150 of FIG. 1.

Analytics 593 is configured to request, receive, and store analytics andinformation about viewer engagement with the content as well as anyprevious content associated with the storyline. In response to receivingand storing the viewer engagement feedback, analytics 593 includes theinformation and analytics in the visualization graph, such as thatincluded in visualization 283 of FIG. 2. As such, the user of thewriting tool, such as writing tool 222 of FIG. 2, has the informationand analytics available to them as they create the content, which allowsthe user to adjust the content based on viewer and/or user engagementlevels.

Viewer engagement feedback may be requested by analytics 593 in questionform, may be based on engagement or usage of certain scenes and/orcontent, or based on other viewer engagement information. Analytics 593may include pre-defined metrics or business logic that are used totrigger positive or negative feedback levels, such as a certain numberof user who re-watch a particular scene, or a certain number of viewerswho answer a question a certain way. For example, if positive feedbackis received by analytics 593 during a certain scene includingCHARACTER-1 and CHARACTER-2, the user of the writing tool, such aswriting tool 222 of FIG. 2, may include additional scenes in the contentincluding both CHARACTER-1 and CHARACTER-2, such as content 118 a ofFIG. 1. In another example, if a majority of viewers respond to aquestion about their favorite scene being SCENE-1 within a priorcontent, then the user may include additional scenes similar to SCENE-1in the content, such as content 118 a of FIG. 1.

In one implementation, analytics 593 may include a menu to describe KeyPerformance Indicators (“KPI). Analytics 593 may be associated withintended actions, which are desired or anticipated by creators. Forexample, one KPI may relate to viewer durations, while another KPI maybe related to Twitter volume tied to a hashtag. For each storyline ordistribution channel, the menu may be used for selecting one or moreKPIs, add, define and/or edit KPIs.

Transmedia viewing 594 is configured to enable open application programinterface (API) integration with other media platforms that areassociated with or have a place in the transmedia storytellingexperience of the storyline. In addition, transmedia viewing 594 enablesmultiple and simultaneous viewing modes and enables the logic writteninto the content, such as the script, to control the perspective or viewof the viewer based on predefined criteria. For example, it may bedetermined by transmedia viewing 594 that a certain location on a themeride attracts the attention of the theme ride users, and thus transmediaviewing 594 presents the content on a display in the location thatattracts the attention of the theme ride users.

FIG. 6 presents a diagram of logic of a storyline, according to oneimplementation of the present disclosure. Diagram 600 of FIG. 6 includesevent 662 a, event 662 b, scriplet 672, IP story instance 674, AudiencePOV (point of view) 668, time jump arc 670, and event layer 666. Diagram600 illustrates a map of the storyline logic for visualization by a userof a client device, such as client device 150 of FIG. 1, during creationof the content, such as content 118 b of FIG. 1. Diagram 600 provides avisual source for the user when determining which events or actionsshould be included in the content, and also to determine how the eventsshould be presented to the audience. Each of a writing tool, aproduction tool, a post-production tool, and a distribution tool, suchas writing tool 122 a, production tool 124 a, post-production tool 126a, and distribution tool 128 a of FIG. 1, respectively, add to andutilize diagram 600.

IP story instance 674 includes the instance of the storyline within theIP universe. For example, IP story instance 674 presents actions,events, effects, POV variables, character logic, and historicalinformation of the story in the IP universe for visualization by theuser. IP story instance 674 includes events and actions over history oftime within the storyline.

Event layer 666 includes a layer within IP story instance 674 that isaffected by an event, such as event 662 a and/or event 662 b. IP storyinstance 674 is made up of a plurality of event layers 666. Event layer666 visually displays the effect across time and across the eventhorizon of how an event impacts the IP story instance 674 and ultimatelythe IP universe. Each of event 662 a and event 662 b may includeactions, events, effects, POV variables, and/or character logic rules.Each of event 662 a and event 662 b includes a scene within thestoryline.

Scriplet 672 is a story arc with a beginning, middle, and end. Scriplet672 may be a television show, a movie, or other storyline experience.Scriplet 672, as displayed in diagram 600, may cross linear ornon-linear time. For example, scriplet 672 may progress chronologicallyin time or may jump around in time, such as a movie that includesflashbacks or scenes that happen in the future.

Audience POV 668 is the point of view of the audience, and is similar toan astrological star chart, and it is the point from which the viewersof the content see the storyline unfold. The audience POV 668 determineswhat is known and not known to the audience from their point of viewwith respect to diagram 600. The audience POV 668 allows the user whocreates the content to know exactly what the viewers already know andwhat they do not know, so that the user can continue to hide parts ofthe storyline from the viewers. However, although the viewers cannot seecertain events and/or actions in the storyline, the user who creates thecontent can use diagram 600 to track the storyline in logical order.

Time jump arc 670 includes the visualization of flashbacks, flashforwards, time travel, and similar events in a storyline. Time jump arc670 allows the user who creates the content to understand the order ofevents in the storyline, and the periods in time in which the eventsoccur. As a result, the user can create the content consistent with thestoryline.

FIG. 7 shows a flowchart illustrating a method for non-linear contentcreation, according to one implementation of the present disclosure. Theapproach and technique indicated by flowchart 700 are sufficient todescribe at least one implementation of the present disclosure, however,other implementations of the disclosure may utilize approaches andtechniques different from those shown in flowchart 700. Furthermore,while flowchart 700 is described with respect to FIG. 1, the disclosedconcepts are not intended to be limited by specific features shown anddescribed with respect to FIG. 1.

Referring now to flowchart 700 of FIG. 7, flowchart 700 (at 710)includes retrieving historical information relating to a storyline. Forexample, server 110 retrieves historical information relating tostoryline 116 a, franchise 117 a, and other information generated bywriting tool 122 a, production tool 124 a, post-production tool 126 a,and distribution tool 128 a. The information may include logic,analytics, timelines, and other information necessary for server 110and/or client device 150 to generate content 118 a and/or content 118 b,respectively.

Referring to flowchart 700 of FIG. 7, flowchart 700 (at 720) includesretrieving user information relating to user interactions with thestoryline. For example, server 110 retrieves user information fromdistribution tool 128 a relating to viewer feedback or viewer engagementlevels. The user information is then utilized by server 110 to assistthe user of client device 150 to create content 118 b consistent withthe user information.

Next, flowchart 700 (at 730) includes providing the historicalinformation and the user information for incorporating into the content.For example, the information associated with and generated fromstoryline 116 a, franchise 117 a, writing tool 122 a, production tool124 a, post-production tool 126 a, and distribution tool 128 a areprovided to server 110 and/or client device 150 for incorporation intocontent 118 a and content 118 b. Incorporation into content 118 a andcontent 118 b includes both actual incorporation of the information intocontent 118 a and content 118 b as well as utilizing the information tocreate content 118 a and content 118 b. For example, historicalinformation such as an event relating to storyline 116 a may beincorporated into content 118 a in addition to another event that isincorporated based on viewer engagement levels for a certain type ofscene, such as a scene that includes both CHARACTER-1 and CHARACTER-2.

Flowchart 700 (at 740) includes creating the content using thehistorical information and the user information. For example, user ofclient device 150 creates content 118 a and/or content 118 b using theinformation associated with and generated from storyline 116 a,franchise 117 a, writing tool 122 a, production tool 124 a,post-production tool 126 a, and distribution tool 128 a. For example, amovie, a television show, or another type of content is created usingall of the information from historical storyline information toinformation gathered after distribution of other content to viewers. Assuch, the information gathered at each level of creation anddistribution of content is utilized in creating non-linear contentacross numerous platforms. Flowchart 700 (at 750) includes producing anddistributing the content created at 740. For example, server 110 and/orclient device 150 may encode an audiovisual content created at 740, anddistribute the encoded audiovisual content.

From the above description it is manifest that various techniques can beused for implementing the concepts described in the present applicationwithout departing from the scope of those concepts. Moreover, while theconcepts have been described with specific reference to certainimplementations, a person of ordinary skill in the art would recognizethat changes can be made in form and detail without departing from thescope of those concepts. As such, the described implementations are tobe considered in all respects as illustrative and not restrictive. Itshould also be understood that the present application is not limited tothe particular implementations described above, but many rearrangements,modifications, and substitutions are possible without departing from thescope of the present disclosure.

What is claimed is:
 1. A system for creation of a content, the systemcomprising: a memory configured to store a plurality of tools; and aprocessor configured to use the plurality of tools to: retrievehistorical information relating to a storyline; retrieve userinformation relating to user interactions with the storyline; providethe historical information and the user information for incorporatinginto the content; generate the content using the historical informationand the user information.
 2. The system of claim 1, wherein theplurality of tools include at least a writing tool, a production tool, apost-production tool, and a distribution tool.
 3. The system of claim 1,wherein the historical information includes relationships between atleast one of characters, character worlds, vocabularies, objects,locations, actions, and events in the storyline.
 4. The system of claim1, wherein the historical information includes a record of logicalelements in the storyline.
 5. The system of claim 1, wherein the userinformation includes at least one user viewing histories, userengagement levels, and user feedback.
 6. The system of claim 1, whereinthe providing the historical information and the user information forincorporating into the content includes: providing notification ofinconsistencies for continuity with the storyline; and providingrecommendations based on business rules, production history, and theuser information for cost scaling.
 7. The system of claim 1, wherein theproviding the historical information and the user information forincorporating into the content includes providing an interface that ispre-loaded with logic based on the historical information and the userinformation.
 8. The system of claim 1, wherein the providing thehistorical information and the user information for incorporating intothe content includes providing a timeline of events and logic in thestoryline based on the historical information and the user information.9. The system of claim 1, wherein the generating the content using thehistorical information and the user information includes tailoring thecontent based on the historical information and the user information tocreate continuity with the storyline and cost management.
 10. The systemof claim 1, wherein generating the content using the historicalinformation and the user information includes building intelligence intothe content for musical continuity through multiple paths and outcomesin the content.
 11. A method for creation of a content using a pluralityof tools, the method comprising: retrieving historical informationrelating to a storyline; retrieving user information relating to userinteractions with the storyline; providing the historical informationand the user information for incorporating into the content; generatingthe content using the historical information and the user information.12. The method of claim 11, wherein the plurality of tools include atleast a writing tool, a production tool, a post-production tool, and adistribution tool.
 13. The method of claim 11, wherein the historicalinformation includes relationships between at least one of characters,character worlds, vocabularies, objects, locations, actions, and eventsin the storyline.
 14. The method of claim 11, wherein the historicalinformation includes a record of logical elements in the storyline. 15.The method of claim 11, wherein the user information includes at leastone user viewing histories, user engagement levels, and user feedback.16. The method of claim 11, wherein the providing the historicalinformation and the user information for incorporating into the contentincludes: providing notification of inconsistencies for continuity withthe storyline; and providing recommendations based on business rules,production history, and the user information for cost scaling.
 17. Themethod of claim 11, wherein the providing the historical information andthe user information for incorporating into the content includesproviding an interface that is pre-loaded with logic based on thehistorical information and the user information.
 18. The method of claim11, wherein the providing the historical information and the userinformation for incorporating into the content includes providing atimeline of events and logic in the storyline based on the historicalinformation and the user information.
 19. The method of claim 11,wherein the generating the content using the historical information andthe user information includes tailoring the content based on thehistorical information and the user information to create continuitywith the storyline and cost management.
 20. The method of claim 11,wherein generating the content using the historical information and theuser information includes building intelligence into the content formusical continuity through multiple paths and outcomes in the content.